Holiday Fun With Mickey Mouse And His Friends-Deck the halls and wish everyone a ?Merry Christmas? with Mickey and his friends this holiday season! Sing AND play-along with twelve favorite Christmas carols in festive arrangements for unison voices (with optionalharmony) and piano. Add parts for classroom percussion and Orff instruments for a special touch. Vocal and instrumental parts are featured in the Singer books and quality-produced recordings on the separate CD feature each songwith and without singers. Available separately: Piano/Vocal Collection Singer Edition 10-Pak and Performance/Accompaniment CD. For all ages.

38 great Disney songs for kids with companion audio tracks of piano accompaniments for practice.  Songs include: The Bare Necessities (The Jungle Book) ? I've Got No Strings (Pinocchio) ? Part of Your World (The Little Mermaid) ? We're All in This Together (High School Musical) ? and more!

Twelve superb arrangements of Christmas favourites for SATB mixed voices, guaranteed to add sparkle and glitz to every choral concert. Christmas Pops! is an essential addition to every choir library and should be on every choral singer's Christmas list! This festive collection covers a wide range of styles and festive moods from simple four part settings to extended divisi arrangements wittily and inventively crafted by the cream of today's choral arrangers including: Richard Allain, Henry Capper-Allen, Ralph Allwood, Hywel Davies, John Gardner, Matthew O'Donovan, Tom Recknell, Bertie Rice and Jonathan Wikeley. / Chant Et Piano

Little Voices Christmas brings together five fun festive songs specially selected and arranged in two parts for young groups and choirs. The included CD contains compete vocal and Piano versions plus Piano-only accompaniments to each song. Each themed book in the Little Voices series contains five songs that make a perfect introduction to part-singing for beginner groups. 'No frills, good quality music appropriately arranged for young choirs, this songbook delivers exactly what is promised. It also represents excellent value for money.' - Sarah Shaw, Music Teacher Magazine / Chant Et Piano

Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano

?Sing your country sing your land!? Such was the advice of Déodat de Séverac to the young Joseph Canteloube de Malaret (1879-1957) when the latter shared his dismay at the petty squabbles taking over the Parisian music scene in the Belle-Epoque. Although Canteloube had started collecting folk songs from his native Cantal in 1895 he only began the harmonisation of Baïlero in 1923 thus inaugurating the first of the five Chants d?Auvergne series that would bring him fame. Renowned baritone François Le Roux chose to begin his anthology with a famous shepherd song recorded near Vic-sur-Cère(in the Haute Auvergne) in which the baïles (shepherds in pasture commons) call to each other from hilltops soaring their vocals across rivers valleys and hills. Singers who wish to immerse themselves in one of the ten melodies that compose this tender picturesque musical landscape can use the Piano accompaniment audio file accessible through a download card. Contents: Baïlèro (Shepherd Songs from the Cantal) ? Bourrées: N?aï pas iéu de mîo (Loved by no woman) and Lo Calhé (The Quail) ? L?Antouèno (The Antoine) ? Lou Boussu (The Hunchback) ? Lo Fiolaire (The Spinner) ? Là-haut sur le rocher ? Uno jionto Postouro (The Pretty Shepherdess) ? Pour l?enfant (Lullaby from Auvergne)

27 Songs from Stage and Screen-An ingénue is an innocent young woman – a type of leading role in theatre and film. Disney movies and shows abound with characters such as Ariel Belle Cinderella Moana Pocahontas Snow White and others.This songbook gathers 27 of their songs with arrangements for vocal solo with piano accompaniments. Songs include Belle (Reprise) A Change in Me A Dream Is a Wish Your Heart Makes For the First Time in Forever How Far I'll Go I See the Light Just Around the Riverbend Let It Go Reflection Some Day My Prince Will Come That's How You Know Watch What Happens When Will My Life Begin? and more.

Rodelinda Regina de' Longobardi HWV 19; Opera in three acts.After Giulio Cesare and Tamerlano Rodelinda is the third masterly opera that Handel composed between December 1723 and January 1725. The words were written by Nicola Haym the author of many other Handel librettos. The first performance took place at the King’s Theatre in the Haymarket London on 13 February 1725. Rodelinda thrives entirely on the ethical supremacy of conjugal love and thus prefigures the great operas by Gluck and Beethoven on the same subject. The plot is taken from the history of the Lombard royalty. Oskar Hagen’s revival of Rodelinda in 1920 ushered in the modern Handel operamovement.The work forms the climax to a series of dramatic masterpieces that includes Handel’s most significant operas. Handel returned to Rodelinda on two occasions in December 1725 and in May 1731. Many far-reaching changes were necessary owing to the different skills of the new singers. For example Handel wrote three new arias and a duet for the first revival. Yet the changes he made for this performance doubtless to accommodate the needs and wishes of the singers also improve the work’s dramatic substance.Our vocal score is based on the Urtext of the full score published in the Halle Handel Edition (II/16) and reproduces the various alternative readings and versions in an appendix.Urtext of the Halle Handel Edition.Full score (BA4064) & vocal score (BA4064-90) available for sale.Performance material (BA4064-72) available for hire

The  Really Easy Piano: Christmas  songbook features 24 festive classics arranged for easy Piano also including song lyrics and chord symbols.  The cream of Christmas tunes are included in this book with all of those classic pop songs that herald Christmas in November and December. These are the serenades toeveryone's favourite season written by such giants of music as Elvis Presley John Lennon Paul McCartney and Elton John. Arranged for easy Piano now these yuletide hits can be played andenjoyed by beginners as well as more seasoned players. Songs like Last Christmas Fairytale of New York and Merry Xmas Everybody will lead the singalongs after Christmas dinner and IWish It Could Be Christmas Everyday will bring everyone together with a common desire. Thearrangements in this songbook will be suitable for a beginners of all ages as they are all simplified from the original. The book would also be ideal for more advanced beginners and intermediate players to use as sight-reading

Handel's spectacular Oratorio was composed in 1744 from a libretto by Charles Jennens that describes the fall of Babylon. Although less successful in it's day than the popular Italian opera, this work is full of invention and dramatic skill with the Jewish, Babylonian Persian and Medes masses having their own distinctive musics that were juxtaposed to create a tense dramatic conflict. Composed in the same year as the magnificent Hercules the two Oratorios represent the very best of Handel's dramatic writing. This title is the full vocal score with a Piano reduction of the orchestral material. Edited by Donald Burrows. / Chant Et Piano